| New musical technologies: Aesthetics and Utilizations
(objectives)
Historiographic, aesthetic and pragmatic rudiments in the creation and interpretation of electronic and electroacoustic music with a primary reference to soundtrack and multisensoriality
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Code
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20710386 |
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Language
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ITA |
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Type of certificate
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Profit certificate
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| Module: New musical technologies: Aesthetics and Utilizations 1
(objectives)
Historiographic, aesthetic and pragmatic rudiments in the creation and interpretation of electronic and electroacoustic music with a primary reference to soundtrack and multisensoriality
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Code
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20710386-1 |
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Language
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ITA |
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Type of certificate
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Profit certificate
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Credits
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6
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Scientific Disciplinary Sector Code
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L-ART/07
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Contact Hours
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30
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Type of Activity
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Core compulsory activities
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Teacher
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Scuderi Cristina
(syllabus)
Aesthetics and practices of new music technologies. For a definition.
New technologies and "electroacoustic music."
Electroacoustic technological inventions between the 1800s and early 1900s, technologies of audio recording and reproduction. Telharmonium, Aetherophone, Sphärophon, Ondes Martenot, Trautonium and other instruments.
The Futurists and "L'arte dei rumori"; Luigi Russolo ("Serenata per intonarumori e strumenti"; "La pioggia").
Radio broadcast in Europe. Pierre Schaeffer and the musique concrète ("Cinq études de bruits"). Edgard Varèse ("Desérts"). The birth of the GRM and Byle's subsequent direction. Acousmatic music. Luc Ferrari and Bernard Parmegiani ("La crèation du monde").
Karlheinz Stockhausen and elektronische Musik at the WDR in Cologne. Employment of serial principles ("Studio I", "Studio II", "Gesang der Junglinge"). Franco Evangelisti in Cologne and his "Incontri di fasce sonore."
American Tape Music. Vladimir Ussachevsky ("Fantasy in space"; "Underwater Waltz") and John Cage ("Imaginary landscapes"; "William's Mix"). The Columbia-Princeton Electronic Music Center.
(reference books)
FRONZI G., Electrosound: storia ed estetica della musica elettroacustica, Torino, EDT 2013.
GALANTE F., N. Sani, Musica espansa, Lucca, Ricordi LIM 2000.
SCALDAFERRI N., Musica nel laboratorio elettroacustico, Lo studio di Fonologia di Milano e la ricerca musicale negli anni Cinquanta, Lucca, LIM 1997 (Quaderni di Musica/Realtà, 41).
ZATTRA L., Studiare la computer music, Padova, libreriauniversitaria.it, 2011.
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Dates of beginning and end of teaching activities
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From to |
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Delivery mode
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At a distance
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Attendance
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not mandatory
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Evaluation methods
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Oral exam
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| Module: New musical technologies: Aesthetics and Utilizations 2
(objectives)
Historiographic, aesthetic and pragmatic rudiments in the creation and interpretation of electronic and electroacoustic music with a primary reference to soundtrack and multisensoriality
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Code
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20710386-2 |
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Language
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ITA |
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Type of certificate
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Profit certificate
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|
Credits
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6
|
|
Scientific Disciplinary Sector Code
|
L-ART/07
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|
Contact Hours
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30
|
|
Type of Activity
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Core compulsory activities
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|
Teacher
|
Scuderi Cristina
(syllabus)
The Studio di Fonologia della RAI in Milan: projects and productions. Bruno Maderna ("Notturno"; "Continuo") and Luciano Berio ("Thema. Omaggio a Joyce"; "Visage"). Luigi Nono's work at the Milan studio ("Omaggio a Vedova"; "Contrappunto dialettico alla mente"). Live electronics.
Other guests at the Studio di Fonologia. Other studios in Europe with special reference to the Italian reality (Pietro Grossi and the SF2M in Florence, the NPS and Teresa Rampazzi in Padua, Enore Zaffiri and the SMET in Turin).
Analog synthesizers and Voltage-Control technologies. Robert Moog and Donald Buchla. Synket, Arp and Ems. The work of Wendy Carlos ("Switched on Bach").
The birth of Computer Music. Conceptual foundations and purposes. Max Mathews and Jean-Claude Risset ("Inharmonique"; "Contours"). John Chowning ("Stria") and James Dashow ("Conditional assemblies"). Computer-assisted composition. The MIDI standard. Denis Smalley ("Wind Chimes"), Trevor Wishart ("Vox 5"). The CSC of Padua and The IRCAM of Paris.
Aesthetics of electroacoustic music: problems and perspectives.
(reference books)
FRONZI G., Electrosound: storia ed estetica della musica elettroacustica, Torino, EDT 2013.
GALANTE F., N. Sani, Musica espansa, Lucca, Ricordi LIM 2000.
SCALDAFERRI N., Musica nel laboratorio elettroacustico, Lo studio di Fonologia di Milano e la ricerca musicale negli anni Cinquanta, Lucca, LIM 1997 (Quaderni di Musica/Realtà, 41).
ZATTRA L., Studiare la computer music, Padova, libreriauniversitaria.it, 2011.
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Dates of beginning and end of teaching activities
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From to |
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Delivery mode
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At a distance
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|
Attendance
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not mandatory
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|
Evaluation methods
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Oral exam
|
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Università Roma Tre